page_title: Black-figure pottery
section_title: Corinth
hierarchical_section_title: Black-figure pottery / Developments / Corinth
caption_attribution_description: Oenochoé 625-600 av J.C., antiquités classiques du musée d’archéologie méditerranéenne de la vieille charité à Marseille
context_page_description: Black-figure pottery painting, also known as the black-figure style or black-figure ceramic is one of the styles of painting on antique Greek vases. It was especially common between the 7th and 5th centuries BC, although there are specimens dating as late as the 2nd century BC. Stylistically it can be distinguished from the preceding orientalizing period and the subsequent red-figure pottery style.
  Figures and ornaments were painted on the body of the vessel using shapes and colors reminiscent of silhouettes. Delicate contours were incised into the paint before firing, and details could be reinforced and highlighted with opaque colors, usually white and red. The principal centers for this style were initially the commercial hub Corinth, and later Athens. Other important production sites are known to have been in Laconia, Boeotia, eastern Greece, and Italy. Particularly in Italy individual styles developed which were at least in part intended for the Etruscan market. Greek black-figure vases were very popular with the Etruscans, as is evident from frequent imports.
context_section_description: The black-figure technique was developed around 700 BC in Corinth and used for the first time in the early 7th century BC by Proto-Corinthian pottery painters, who were still painting in the orientalizing style. The new technique was reminiscent of engraved metal pieces, with the more costly metal tableware being replaced by pottery vases with figures painted on them. A characteristic black-figure style developed before the end of the century. Most orientalizing elements had been given up and there were no ornaments except for dabbed rosettes (the rosettes being formed by an arrangement of small individual dots)
  The clay used in Corinth was soft, with a yellow, occasionally green tint. Faulty firing was a matter of course, occurring whenever the complicated firing procedure did not function as desired. The result was often unwanted coloring of the entire vase, or parts of it. After firing, the glossy slip applied to the vase turned dull black. The supplemental red and white colors first appeared in Corinth and then became very common. The painted vessels are usually of small format, seldom higher than 30 cm. Oil flasks (alabastra, aryballos), pyxides, kraters, oenochoes and cups were the most common vessels painted. Sculptured vases were also widespread. In contrast to Attic vases, inscriptions are rare, and painters’ signatures even more so. Most of the surviving vessels produced in Corinth have been found in Etruria, lower Italy and Sicily. In the 7th and first half of the 6th centuries BC, Corinthian vase painting dominated the Mediterranean market for ceramics. It is difficult to construct a stylistic sequence for Corinthian vase painting. In contrast to Attic painting, for example, the proportions of the pottery foundation did not evolve much. It is also often difficult to date Corinthian vases; one frequently has to rely on secondary dates, such as the founding of Greek colonies in Italy. Based on such information an approximate chronology can be drawn up using stylistic comparisons, but it seldom has anywhere near the precision of the dating of Attic vases.
  Mythological scenes are frequently depicted, especially Heracles and figures relating to the Trojan War. But the imagery on Corinthian vases does not have as wide a thematic range as do later works by Attic painters. Gods are seldom depicted, Dionysus never. But the Theban Cycle was more popular in Corinth than later in Athens. Primarily fights, horsemen and banquets were the most common scenes of daily life, the latter appearing for the first time during the early Corinthian period. Sport scenes are rare. Scenes with fat-bellied dancers are unique and their meaning is disputed up to the present time. These are drinkers whose bellies and buttocks are padded with pillows and they may represent an early form of Greek comedy.
caption: Oenochoe with animal frieze, ca. 625/600 BC, now in the Musée d’Archéologie Méditerranéenne de la Vieille Charité in Marseille, France
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